Susan Point

Last updated
Susan Point
Born (1952-04-05) April 5, 1952 (age 72)
Nationality Musqueam-Canadian
Education Self-taught
Known for Sculptor
Movement Coast Salish
AwardsYWCA Woman of Distinction
Elected Royal Canadian Academy of Arts
Website https://susanpoint.com/

Susan Point RCA (born 1952 [1] ) is a Musqueam Coast Salish artist from Canada, who works in the Coast Salish tradition. [2] Her sculpture, prints [3] and public art [4] works include pieces installed at the Vancouver International Airport, the National Museum of the American Indian in Washington D.C., Stanley Park in Vancouver, the Museum of Anthropology at UBC, the Penn Museum in Philadelphia, and the city of Seattle. [5] [6] [7] [8]

Contents

Biography

Point was born in Alert Bay while her parents, Edna Grant and Anthony Point [9] were salmon fishing. Her parents both used the Salish language Halkomelem [10] in their home on the Musqueam First Nation. [6] [11] In the early 1980s, she joined a group of artists interested in reviving the traditions of Coast Salish art and design, including artists such as Stan Greene, Rod Modeste, and Floyd Joseph. Little research had been done on Salish art, so Point taught herself the Salish traditions. She studied the collections of Coast Salish art at the University of British Columbia's Museum of Anthropology and at the Royal British Columbia Museum. [6] [10] There is broad agreement that Point's works were critical to the current efflorescence of contemporary Coast Salish art. She was a leader in expanding the audience for Salish art to a market that was heavily biased towards Northwest Coast artworks produced in northern Northwest Coast formline design principles. Her close study of the formal characteristics of historical works of Salish art laid the foundation for her contemporary productions - some based closely on new renderings in print form of historical spindle whorls in museum collections, and later expanding out into original forms in new media, such as glass, concrete, and bronze. [12]

Much of her art practice has involved the adaptation of traditional spindle whorl carvings into the medium of screen printing. Her work helped revive Coast Salish design and brought new scholarly attention to her culture. [6] [10] She has produced more prints than any other artist on the Coast, with over 360 prints in her oeuvre by 2016. For several decades (starting in the late 1990s), she completed both a major public work of art within British Columbia or the Seattle metropolitan area along with a series of prints and works in glass each year. [12]

Vancouver Airport Inside Vancouver Airport Inside.jpg
Vancouver Airport Inside

A major retrospective of her work was shown by the Vancouver Art Gallery in 2017, Susan Point: Spindle Whorl. [13]

Works

Musqueam House Post Musqueam House post MOA.jpg
Musqueam House Post

Point's works include Salish Footprint in the Museum of Anthropology at the University of British Columbia, [14] Musqueam house posts at the American Museum of Natural History, [15] and carvings installed at the Vancouver International Airport [16] and at Brockton Point in Stanley Park. [17]

In 1995, Point's "Flight (Spindle Whorl)" was installed at the Vancouver International Airport. It is the largest spindle whorl in the world at 4.8 meters (16 feet) in diameter. The piece is set against a stone waterfall to symbolize the connection between land and sky. [18]

In 2008, Point created "Buttress Runnels" for the Richmond Olympic Oval in Richmond, B.C.. The runnels move water from the roof of the building away from the site. The runnels include cast images of the life of the Fraser River, including fish, sand, herons. A heron is used for the logo of the City of Richmond and the symbol figures prominently in stories and histories of the Musqueam people. [19]

In 2009, Point’s “Tree of Life” stained glass window was installed in Christ Church Cathedral in Vancouver. The design represents the Salish belief in the interconnectedness of all forms of life, uniting Christian theology with First Nations culture and merging the traditional with the modern. Point was commissioned by the church to design the windows after winning a competition. [20]

Manhole cover in Vancouver, BC, Canada Manhole cover in sidewalk Coal Harbor, Vancouver, BC.jpg
Manhole cover in Vancouver, BC, Canada

Since 2014, the Penn Museum of the University of Pennsylvania has displayed a glass whorl by Point, made in 1994, in its "Native American Voices: The People – Here and Now" exhibit. [21] [8]

Awards and honours

See also

Related Research Articles

<span class="mw-page-title-main">Bill Reid</span> Haida carver (1920–1998)

William Ronald Reid Jr. was a Haida artist whose works include jewelry, sculpture, screen-printing, and paintings. Producing over one thousand original works during his fifty-year career, Reid is regarded as one of the most significant Northwest Coast artists of the late twentieth century.

<span class="mw-page-title-main">Museum of Anthropology at UBC</span> Museum of Anthropology in Vancouver, Canada

The Museum of Anthropology at the University of British Columbia (UBC) campus in Vancouver, British Columbia, Canada displays world arts and cultures, in particular works by First Nations of the Pacific Northwest. As well as being a major tourist destination, MOA is a research and teaching museum, where UBC courses in art, anthropology, archaeology, conservation, and museum studies are given. MOA houses close to 50,000 ethnographic objects, as well as 535,000 archaeological objects in its building alone.

<span class="mw-page-title-main">Emily Carr</span> Canadian artist and writer (1871–1945)

Emily Carr was a Canadian artist who was inspired by the monumental art and villages of the First Nations and the landscapes of British Columbia. She also was a vivid writer and chronicler of life in her surroundings, praised for her "complete candour" and "strong prose". Klee Wyck, her first book, published in 1941, won the Governor General's Literary Award for non-fiction and this book and others written by her or compiled from her writings later are still much in demand today.

<span class="mw-page-title-main">Joseph Trutch</span> Canadian politician (1826–1904)

Sir Joseph William Trutch, was an English-born Canadian civil engineer, land surveyor, and politician who served as first Lieutenant Governor of British Columbia.

<span class="mw-page-title-main">Musqueam First Nation</span> First Nation in British Columbia, Canada

The Musqueam Nation is a First Nation whose traditional territory encompasses the western half of what is now Greater Vancouver, in British Columbia, Canada. It is governed by a band council and is known officially as the Musqueam Indian Band under the Indian Act. "Musqueam" is an anglicization of the Hunquminum name xʷməθkʷəy̓əm, which means "place of the river grass" or "place where the river grass grows".

<span class="mw-page-title-main">Northwest Coast art</span>

Northwest Coast art is the term commonly applied to a style of art created primarily by artists from Tlingit, Haida, Heiltsuk, Nuxalk, Tsimshian, Kwakwaka'wakw, Nuu-chah-nulth and other First Nations and Native American tribes of the Northwest Coast of North America, from pre-European-contact times up to the present.

<span class="mw-page-title-main">Coast Salish</span> Related Indigenous peoples of the Pacific Northwest Coast

The Coast Salish are a group of ethnically and linguistically related Indigenous peoples of the Pacific Northwest Coast, living in the Canadian province of British Columbia and the U.S. states of Washington and Oregon. They speak one of the Coast Salish languages. The Nuxalk nation are usually included in the group, although their language is more closely related to Interior Salish languages.

Wayne Suttles (1918–2005) was an American anthropologist and linguist.

<span class="mw-page-title-main">Coast Salish art</span> Art style of the Coast Salish peoples

Coast Salish art is an art unique to the Pacific Northwest Coast among the Coast Salish peoples. Coast Salish are peoples from the Pacific Northwest Coast made up of many different languages and cultural characteristics. Coast Salish territory covers the coast of British Columbia and Washington state. Within traditional Coast Salish art there are two major forms; the flat design and carving, and basketry and weaving. In historical times these were delineated among male and female roles in the community with men made "figurative pieces, such as sculptures and paintings that depicts crest, shamanic beings, and spirits, whereas women produced baskets and textiles, most often decorated with abstract designs."

<span class="mw-page-title-main">Salish weaving</span>

Salish are skilled weavers and knitters of the Pacific Northwest. They are most noted for their beautiful twill blankets many of which are very old. The adoption of new fabrics, dyes, and weaving techniques allow us to study a wide variety of Salish weavings today.

<span class="mw-page-title-main">Cowichan knitting</span> Form of knitting of the Cowichan people

Cowichan knitting is a form of knitting characteristic of the Cowichan people of southeastern Vancouver Island, British Columbia. The distinctively patterned, heavy-knit Cowichan sweaters, popular among British Columbians and tourists, are produced using this method. Cowichan knitting is an acculturated art form, a combination of European textile techniques and Salish spinning and weaving methods. From this union, new tools, techniques and designs developed over the years.

<span class="mw-page-title-main">Salish peoples</span> Indigenous peoples of the Pacific Northwest

The Salish peoples are indigenous peoples of the American and Canadian Pacific Northwest, identified by their use of the Salishan languages which diversified out of Proto-Salish between 3,000 and 6,000 years ago.

<span class="mw-page-title-main">Marpole Midden</span> Midden pile in British columbia

The Marpole Midden, also known by archaeologists as the Great Fraser Midden or Eburne site, is a 4000-year-old midden at the mouth of the Fraser River, in the Marpole neighbourhood of Vancouver, British Columbia. The site was the location of the ancient Musqueam village of c̓əsnaʔəm and a sacred burial ground.

Charles Edward Borden; also Carl Borden; was an American- born Canadian professor of archaeology at the University of British Columbia and the author of seminal works on archaeology, pre-history and pre-contact history. He was of German descent. The Canadian Archaeological Association referred to him as the grandfather of archaeology in British Columbia and especially regarding prehistory and early history and rendered outstanding services to British Columbia. The Borden System was used on all archaeological sites. Borden deemed the Milliken site in the Fraser Canyon, with finds dating back about 9500 years old, making it the oldest known settlement at the time, therefore the most important of the excavations at sites.

<span class="mw-page-title-main">Sonny Assu</span> Ligwildaxw Kwakwakawakw contemporary artist

Sonny Assu is a Ligwilda'xw Kwakwaka'wakw contemporary artist. Assu's paintings, sculptures, prints, installations, and interventions are all infused with his wry humour which is a tool to open the conversation around his themes of predilections: consumerism, colonization and imperialism.

Debra Sparrow, or θəliχʷəlʷət (Thelliawhatlwit), is a Musqueam weaver, artist and knowledge keeper. She is self-taught in Salish design, weaving, and jewellery making.

Lawrence Paul Yuxweluptun is a Cowichan/Syilx First Nations contemporary artist from Canada. His paintings employ elements of Northwest Coast formline design and Surrealism to explore issues as environmentalism, land ownership, and Canada's treatment of First Nations peoples.

Diamond Point is a contemporary Coast Salish artist and member of the Musqueam Indian Band.

Clarence "Butch" Dick (Yux'way'lupton) is a Lekwungen artist, educator and activist residing in Victoria, British Columbia, Canada.

Chrystal Sparrow is a traditional and contemporary Musqueam Coast Salish artist living in Vancouver, British Columbia on unceded Coast Salish territory.

References

  1. "Lattimer Gallery - Artist Bio - Susan Point". Lattimer Gallery. Retrieved 21 August 2013.
  2. Magocsi, Paul Robert (1999). Encyclopedia of Canada's Peoples. University of Toronto Press. p. 91. ISBN   9780802029386 . Retrieved 24 July 2013.
  3. Croes, Dale; Point, Susan (2014). Susan Point: Works on Paper. Figure 1 Publishing. ISBN   978-0-9918588-9-7.
  4. Watt, Robert D. (2019). People Among the People: The Public Art of Susan Point. Figure 1 Publishing. ISBN   978-1-77327-042-5.
  5. Thom, Ian MacEwan (2009). Challenging Traditions: Contemporary First Nations Art of the Northwest Coast. Douglas & McIntyre. pp. 117–120. ISBN   9781553654148 . Retrieved 20 July 2013.
  6. 1 2 3 4 "Susan Point / Alcheringa Gallery - Contemporary Aboriginal Art". Alcheringa Gallery. Retrieved 2016-02-15.
  7. "Washington State Public Stadium Authority :: Public Art". Washington State Public Stadium Authority. Retrieved 2016-02-15.
  8. 1 2 Point, Susan (March 10, 2020). "Whorl - 94-15-15A | Collections - Penn Museum". www.penn.museum. Retrieved 2020-03-11.
  9. heyshauna.com. "susan point. about". susanpoint.com. Retrieved 2017-11-18.
  10. 1 2 3 Swan, Deborah. "The Graphic Works of Susan A. Point". History of Northwest Coast Graphic Art. Burke Museum.
  11. Martin, Katherine (2010-10-06). Women of Spirit: Stories of Courage from the Women Who Lived Them. New World Library. pp. 213–219. ISBN   9781577318231 . Retrieved 20 July 2013.
  12. 1 2 Susan point : spindle whorl. Black Dog. 2017-01-01. ISBN   978-1911164265. OCLC   954670684.
  13. "Vancouver Art Gallery". Vancouver Art Gallery. Retrieved 2017-03-04.
  14. Mayer, Carol Elizabeth; Shelton, Anthony (2009). The Museum of Anthropology at the University of British Columbia. Douglas & McIntyre. pp. 1–2. ISBN   9781553654155 . Retrieved 15 August 2013.
  15. Mayer, Carol Elizabeth; Shelton, Anthony (2009). The Museum of Anthropology at the University of British Columbia. Douglas & McIntyre. p. 26. ISBN   9781553654155 . Retrieved 15 August 2013.
  16. Jonaitis, Aldona (2006-01-01). Art of the Northwest Coast. University of Washington Press. p. 270. ISBN   9781553652106 . Retrieved 15 August 2013.
  17. Laurence, Robin (18 June 2008). "Susan Point's huge Coast Salish portals pay rich tribute". The Georgia Straight . Archived from the original on 21 March 2012.
  18. "Flight (Spindle Whorl)". Vancouver International Airport. Retrieved 2016-02-15.
  19. "City of Richmond BC - Buttress Runnels (2008)". City of Richmond. Retrieved 2017-03-04.
  20. Canada, Diocese of New Westminster | Anglican Church of. "'Tree of Life' window dedicated at Cathedral". Diocese of New Westminster | Anglican Church of Canada. Retrieved 2016-02-15.
  21. Penn Museum. "Native American Voices | Penn Museum". www.penn.museum. Retrieved 2020-03-11.
  22. 1 2 3 Valaskakis, Gail Guthrie; Stout, Madeleine Dion; Guimond, Eric (2009-01-01). Restoring the Balance: First Nations Women, Community, and Culture. Univ. of Manitoba Press. p. 279. ISBN   9780887553615 . Retrieved 15 August 2013.
  23. "University of Victoria -Honorary degree recipients - University of Victoria". University of Victoria. Retrieved 2016-02-15.
  24. "Past Honorary Degree Recipients - Ceremonies and Events - Simon Fraser University". Simon Frasier University. Retrieved 2016-02-15.
  25. "Emily Carr University of Art + Design Announces 2014 Honorary Doctorate and Emily Award Recipients" (Press release). 23 April 2014. Archived from the original on 19 March 2017.
  26. "Order of Canada - Susan A. Point, O.C., D.Litt., D.F.A., R.C.A." archive.gg.ca. Governor General of Canada. Archived from the original on 3 June 2015.
  27. "B.C.'s 100 of Influence" (PDF). Vancouver Sun. 2010.
  28. General, The Office of the Secretary to the Governor. "The Governor General of Canada" . Retrieved 2016-02-15.
  29. "Susan Point earns Audain Prize". burnabynow.com. 2018-04-14. Retrieved 2018-05-14.

Further reading